““Night Trip” sets a tone of contradictory nostalgia, as alluring as it is frightening. Imagine a recurring nightmare you haven’t had since you were a child yet which now pricks at your desire to see it with waking eyes. This is the ouroboros whose songs are documented herein. “Ordered and Filed,” on the other hand, is cloaked in a honeycombed past. With the post-apocalyptic contours of a Tarkovsky wasteland, Schurman manifests the body’s internal mechanisms as destitutions made anthemic by the caress of a distant sun.”
I’m putting the finishing touches on the new Caustic Reverie album, entitled Here and Away. This project is based on the soundtrack I wrote for the short film by director Abby Sirwatka.
Look for it on Spotify, Bandcamp, and everywhere else in July or August.
Read more about it here or just listen on Bandcamp.
Decadent Nemesis is now available on last.fm for streaming and download.
I’m pleased to announce the release of my 17th full-length Caustic Reverie album: Decadent Nemesis.
My first two Caustic Reverie albums have had a strong element of the improvisational rather than the tightly structured, step sequencer-based compositions that I have done as TheForgotton. Caustic Reverie has been a chance for me to break out of my writing ruts, and this album was to be an experiment in generative music.
For Stochastic Resonance, I used a program called FMusic as a skeleton for the tracks. It is a composition tool that uses fractals and cellular automata to pick the notes, durations, etc. for a song. I messed around with some scales and key changes until it gave me something I liked. FMusic spits out a midi file which I then imported into FL studio. For example, here is the midi used as a basis for In Vacuo.
I made some synth patches using vsts like the Cameleon 5000, Crystal, and a couple of Krakli synths including Karnage and Etequet. I put some fairly wild sounds for each patch and when I went to play it back, it was compete chaos. See below for what this part of the process sounded like.
I then dragged the tempo down and dumped each track individually, doing some additional time stretching using paulstretch with different edge-case settings for each to get some nice artifacts and glitches throughout.
The tracks were reassembled in Cubase and I started to mix it down. The mixing phase was interesting, as I was working with it more like a sculpture than a song, muting tracks here, and fading them and out there. I added some ambiance recorded at night on the dock near my place, some pitch shifted cymbals, and even a couple of household appliances here and there.
Here’s tonight’s soundscape experiment, the meat of which was made while messing around with a VST effect called Elottronix XL.